Wie, wann und wo wurde die Entität der Zeit erstmals visuell auf einer zweidimensionalen Fläche dargestellt? In Wissenschaft und Technologie ermöglicht die diagrammatische Konfiguration von Zeitlichkeit, komplexe Informationen anschaulich und strukturiert zu vermitteln. Das Forschungsprojekt FORMEN DER ZEIT untersucht die Entstehung temporaler Ordnungsmatrizen im Mittelalter. Ausgangspunkt ist die These, dass sich die diagrammatische Visualisierung von Zeit im 9. Jahrhundert in quadrivialen Wissenskontexten herausbildete. Anhand zweier Manuskriptgruppen aus dem 9. und 10. Jahrhundert werden die Voraussetzungen und Kontexte für die Entwicklung neuer Darstellungsmodelle zeitlicher Strukturen interdisziplinär analysiert. Im Zentrum steht die Frage, wie Strategien zur Visualisierung des Ephemeren auf der zweidimensionalen Fläche entwickelt wurden und welche Konsequenzen sich daraus für die Wissensfelder der Geometrie, Arithmerik, Kosmologie und Musik ergaben. So leistet das Projekt einen Beitrag zur Erforschung einer grundlegenden Kulturtechnik, deren moderne Ausprägungen – etwa in Notationssystemen zeitlicher Abläufe – die Darstellung von Entwicklungszusammenhängen, physiologischen Rhythmen oder komplexen Mehrstimmigkeiten erst ermöglichen.

Detailliertere Informationen finden Sie unter folgenden Links:

https://fit.uni-tuebingen.de/Project/Details?id=13320

Erfolg beim Eliteprogramm für Postdocs

In view of the complexity of biblical history – „considerans sacrae historiae prolixitatem“ – the 12th century Parisian scholar Peter of Poitiers formulated the goal of his Compendium historiae in genealogia Christi as a concise overview. As a novel visualisation of salvation history in the form of a linear synopsis with brief textual explanations, this work is of groundbreaking importance. The sequence of generations from Adam to Christ forms the chronological leading axis with which the lines of biblical ruling families are correlated, so that synchronous and diachronic relationships of persons and events can be read simultaneously. Furthermore, the Compendium historiae visualises suggestively the basic assumption of a history that is ordered by God and can be grasped by the human mind in its order, that proceeds according to plan and teleologically. The synopsis developed by Peter of Poitiers quickly spread throughout the Latin West. Between the late 12th and early 16th centuries, several hundred copies have survived. Despite its relevance and formative effect, the Compendium historiae has so far neither been edited nor studied with regard to the specificity of multilinear graphics as a metastructure.
The proposed interdisciplinary and international research project brings together the fields of art history, Latin philology, medieval history, edition studies and digital humanities. The aims are (1) a comprehensive overview of the tradition of the Compendium historiae, (2) an analysis of the graphic metastructure as well as the texts, diagrams and images embedded in it (and the recording of variants), (3) a critical scholarly edition (based on selected witnesses), and (4) an exploration of relevant contexts. The project will result in (1) a codicological database, (2) a navigable visualisation of the graphic metastructure (and its elements), (3) a critical edition of the text, and (4) individual and case studies for in-depth research of important witnesses of tradition, socio-cultural contexts and other aspects. The publication will be digital, permanent and freely accessible.
With the development of the digital edition, new methodological ground is being broken in terms of the adequate representation of diagrammatic structures through a formalised and navigable knowledge graph that represents the variants of the work as individual forms of realisation and transmission through innovative visualisation technologies. The project will make accessible one of the most visually innovative and influential works of the Middle Ages and shed new light on the history of the visualisation of knowledge. It will also provide a model with which works of complex graphic structure can be edited and made accessible in the future.

For further information please follow this link: https://fit.uni-tuebingen.de/Project/Details?id=10031

Sub-Project C2 of the CRC 1391 Different Aesthetics - Second Funding Period
 Aesthetics - Canon – Criticism: Northern Alpine Art in Archaeological and Art Historical Research

The archaeological and art historical project C2 deals with the processes, practices and media of canon formation from a double historical perspective, using the example of Roman architecture of the first to the third centuries in the Northwest provinces and Netherlandish painting and printmaking of the sixteenth and seventeenth centuries:

On the one hand, the focus is on the different types of pre-modern reception, criticism, reproduction and theorisation of art by which contemporary (visual) authority was attributed to certain North Alpine ancient and early modern works. On the other hand, the project focuses on the subsequent processes of canon formation since the eighteenth century and their significant interactions with museum collecting practices and the research history of the increasingly institutionalised disciplines of archaeology and art history.

The project is based on the thesis that the consolidation and perpetuation of canons, which are in a reciprocal relationship with different forms and levels of identity formation, always took place or takes place in the field of tension between autology and heterology. On this basis, the project uses selective pre-modern architectural elements, paintings and prints as well as their specific reception histories to investigate the cultural-historical dynamics of the selection, standardisation and hierarchisation of art, i.e. those processes that are themselves to be understood as aesthetic acts in the sense of the praxeological model of the CRC.

Principal Investigators: Prof. Dr. Anna Pawlak and Prof. Dr. Johannes Lipps

Sub-Project C4 of the CRC 1391 Different Aesthetics - Second Funding Period
Ceremonies in Print: Intermediality and Representation in Early Modern Netherlandish Culture

Project C4 combines Latin philology with art history to study the reciprocal relationship between intermediality and representation in the Dutch culture of the sixteenth and seventeenth centuries. It focuses on print graphics and Latin programmes, descriptions, and epigrams of ceremonies, which spread widely across Europe.

Specifically, we investigate the conceptual synergy of picture and text in copper engravings. In the first funding phase, this included the works of the “Haarlem school,” Maarten van Heemskerck, and Franco Estius. We now aim to expand this focus in the second phase, in which we will work with different forms of media-hybrids and their epistemic potential in the printed works of courtly and communal representations: those include performative acts such as the advent of emperors (Blijde Inkomsten), funeral corteges (pompae funebres) as well as processions of relics (Ommegangen). These ceremonial processions, which frequently refer back to antiquity, did not just characterize the early modern festival culture but had also, by their medial reception, a considerable national and enduring cultural impact. We argue that because of their intermediality the printed representations of the ephemeral serve as a location where contemporary political, religious, societal, and artistic discourses could be negotiated.

The project analyses the conceptions and descriptions of the festival processions in Antwerp by the humanist Joannes Bochius and the visual representations of Dutch ceremonial acts. It is our goal to determine the role of printed works as indicators and generators of a European culture of remembrance. In doing so, we will consider medial references, differences, and boundaries and will handle the works themselves as testimonies of performative acts.

Principal Investigators: Prof. Dr. Anna Pawlak and Prof. Dr. Anja Wolkenhauer